A trans woman fresh out of high school joins an indigenous language documentation and revitalization program, which sends her to a far-away coastal village full of dolls (à la Nagoro, Japan) with just one remaining resident: a crotchety, conservative old man with a penchant for arts and crafts, who also happens to be the very last living speaker of one of these largely undocumented, incredibly obscure indigenous languages. Thus begins a story of these two contrasting characters — native vs transplant, man vs woman, old vs young, rural vs urban, cishet vs queer — as they gradually come to understand through experience, that a broader system that exploits them both in different ways, has pitted them against each other for its own gain.

Over the course of the show, an orthography is devised for the endangered language, based on the old man's paintings of the village's history; a dictionary is compiled and a comprehensive grammar is written; and more than enough audio samples are gathered to create courses in the language. Our two main characters must at the same time also fight to designate the "village of dolls" as a protected heritage site, as the local municipal council which annexed the village plans to sell the land to some slimy real estate developers, who intend to raze the village and build luxury summer homes over it.

One day, however, the brother has to present feminine and kiss a same-gender costar for a film. This sends him spiraling into a period of questioning his gender and sexuality. The brother's crush on his costar gets more complicated when it turns out that the sister is also crushing on the guy, and the brother suddenly starts also crushing on a girl at the same time as he's crushing on his male costar! Yet for the crushing cruelty of the brother's generally queerphobic and deeply religious peers, the brother still has so many supportive friends who help him through his troubles — and by the end of the show he determines with confidence that he's a bi, cis femboy.